"A story so real?it was."What would it be like to enter the world of our story books? This is a question many children have dreamed about, but have you ever considered what would happen if the characters in story books entered our world?Author J.A. Sommer and Illustrator John Neiner bring to life the story of Zao's Tales-no ordinary collection of fairy tales-and the adventure it brings Carey, Ella, and Lili when they unintentionally release an evil villain into the world.

"A story so real?it was."What would it be like to enter the world of our story books? This is a question many children have dreamed about, but have you ever considered what would happen if the characters in story books entered our world?Author J.A. Sommer and Illustrator John Neiner bring to life the story of Zao's Tales-no ordinary collection of fairy tales-and the adventure it brings Carey, Ella, and Lili when they unintentionally release an evil villain into the world.

This book, first published in 1990, is a thematic analysis of five tales of early vernacular Chinese literature. Interest in vernacular stories is increasing in the study of Chinese literature, as their importance is being recognised as a key part of the oral traditional narrative. From the analysis of the five Chinese tales in light of literary, historical, philological sources and folkloristic methodologies we may see to what extent tales of an intrinsically religious nature can offer meanings in the oral tradition.

The Wizard of Zao is a fantasy novel by Lin Carter, first published in 1978. The story is set in a mythical world and follows the adventures of a wizard named Zao and his companions. Zao embarks on a quest involving ancient powers and mystical realms, with Carter's signature blend of humor and adventure. The book is part of Carter's larger body of work known for drawing inspiration from classic fantasy tropes and his homage to authors like Robert E. Howard, J.R.R. Tolkien, and Lord Dunsany.

This book tells us some of the immortal ranks. As Zeffron got a promotion, we know they have ranks, so we should know what some of them are. It picks up from where book 8 leaves off and tells how each rank is gotten. It is much shorter than book 8, so young ones dont get discouraged by its size.

The long seventeenth century in China was a period of tremendous commercial expansion, and no literary genre was better equipped to articulate its possibilities than southern drama. As a form and a practice, southern drama was in the business of world-building—both in its structural imperative to depict and reconcile the social whole and in its creation of entire economies dependent on its publication and performance. However, the early modern commercial world repelled rather than engaged most playwrights, who consigned its totems—the merchant and his money—to the margins as sources of political suspicion and cultural anxiety. In The Cornucopian Stage, Ariel Fox examines a body of influential yet understudied plays by a circle of Suzhou playwrights who enlisted the theatrical imaginary to very different ends. In plays about long-distance traders and small-time peddlers, impossible bargains and broken contracts, strings of cash and storehouses of silver, the Suzhou circle placed commercial forms not only at center stage but at the center of a new world coming into being. Here, Fox argues, the economic character of early modern selfhood is recast as fundamentally productive—as the basis for new subject positions, new kinds of communities, and new modes of art.